The Typology of Modern Russian Opera Created at the Turn of the 21st Century

Abstract

The article outlines the typology of modern Russian opera created in the 1990s – 2010s. This genre represents an important layer of modern Russian culture and musical art. Its development reflects the general processes occurring in these spheres of human activity, allowing us to consider opera not only in the context of musical creativity, but also in relation to other forms of art. The period in question was markedly transitional, which affected artistic processes in Russian art as a whole and in opera specifically. The transition is highlighted by the diversity and multidirectionality of artistic and aesthetic concepts, as well as the varying opinions of composers, scientists and critics regarding the definition and boundaries of the opera genre in modern music. The historical period in question demands that the traditional criteria of genre typology were revisited, and a more flexible model were devised to allow for structuring the corpus of Russian operas created from the turn of the 20th to the early 21st centuries.

References

1. Averincev S. S. Ritorika i istoki evropejskoj literaturnoj tradicii [Rhetoric and the origins of the European literary tradition]. Moscow: Shkola “Yazy`ki russkoj kul`tury`”, 1996. 445 p.
2. Basok M. A. Sovremennaya kamernaya opera. K probleme specifiki zhanra [Modern chamber opera. To the problem of the specifics of the genre]: dis. … kand. isk.: 17.00.02. Moscow, 1983. 196 p.
3. Brabbins M. Misteriya, unikal`naya avantyura: «Alisa v Strane Chudes». Prem`era opery` Aleksandra Knajfelya v Amsterdame [Mystery, a unique adventure: “Alice in Wonderland”. Premiere of Alexander Kneifel's opera in Amsterdam] // Mariinskij teatr. 2002. № 1–2. P. 8.
4. Dahlhaus C. Vom Musikdrama zur Literaturoper // In: Aufsätze zur neueren Operngeschichte. München-Salzburg: Musikverlag Emil Katzbichler, 1983. 271 p.
5. Gay C. Lo specchio dello specchio. Drammaturgia e vocalità in due opere di Salvatore Sciarrino: Luci mie traditrici e Lohengrin. Università degli Studi di Milano Facoltà di Lettere e Filosofia. Anno accademico, 2004–2005. 193 p.
6. Istel E. Das Libretto / E. Istel. Berlin–Leipzig: Schuster & Löffler, 1914. 240 p.
7. Levkovskaya S. S. “Karmen-PEREZAGRUZKA” [Carmen-PEREZAGRUZKA]. Partitura. Rukopis`, 2004.
8. Leman X.-T. Postdramaticheskij teatr [Post-drama theatre]. Moscow: ABCdesign, 2013. 312 p.
9. Lobodanov A. P. “Pikovaya dama” P. I. Chajkovskogo v scenicheskoj interpretacii K. S. Stanislavskogo i V. E`. Mejerxol`da (k voprosu o zarozhdenii klipovogo my`shleniya v opernoj rezhissure) [Tchaikovsky's “The Queen of Spades” in the stage interpretation by K. S. Stanislavsky and V. E. Meyerhold (on the question of the origin of clip thinking in opera directing)] // Teoriya i istoriya iskusstva. 2016. № 1/2. P. 6–48.
10. Poe`tika russkoj literatury` koncza XIX — nachala XX veka. Dinamika zhanra. Obshhie problemy`. Proza [Poetics of Russian literature of the late 19th — early 20th century. The dynamics of the genre. Common problems. Prose]. Moscow: IMLI RAN, 2009. 832 p.
11. Raku M. G. Krizis sovremennoj opery`: mezhdu sociologiej i e`stetikoj [The crisis of modern opera: between sociology and aesthetics] // Muzy`kal`ny`j teatr XX veka. Soby`tiya, problemy`, itogi, perspektivy`. Moscow: Editorial URSS, 2004. P. 236–243.
12. Xoprova T. A. Duxovnaya opera v tvorchestve A. Rubinshtejna [Spiritual opera in the works of A. Rubinstein] // Biblejskie obrazy` v muzy`ke: sb. statej / red.-sost. T. A. Xoprova. St. Petersburg: Izd-vo SPb. gos. konservatorii, 2004. P. 131–151.